15th Century and Earlier Furniture

Versatile set of pink and white geode bookends, circa 1980s. The set is in very good vintage condition with no chips or cracks.

This is a white porcelain bowl made in Korea around the 15-16th century. This period is known as the Joseon Dynasty (15th-19th centuries). The 15-16th century corresponds to the firs...

The electric intensity of this piece's coloration makes it both stunning and unique. The sparkling color and natural wave-like form makes for a hypnotic sculpture evoking a sense of ...

20.68 Gram Pretty Demantoid Garnet Specimen Weight: 20.68 Gram Dimension: 2.2 x 2.9 x 2.7 Cm Origin: Belqeys Mountains ( Koh-e-Belgheys), Iran Color: Green Demantoid is the green gemstone variety of the mineral andradite, a member of the garnet group of Minerals. Andradite is a calcium- and iron-rich garnet. The chemical formula is Ca₃Fe₂(SiO₄)₃ with chromium substitution as the cause of the demantoid green color. Ferric iron is the cause of the yellow in the stone Demantoid was a popular gemstone during the Belle Époque period (1890-1915), especially in Art Nouveau jewelry. The Russian Czars...

This 100% complete trilobite fossil of the species crotacephalina on its natural limestone matrix is estimated at approximately 400 million years old, dating back to the Devonian per...

The octagonal lobed ovoid body rising from a short spreading foot to a tall trumpet neck, set at the shoulder with a tall curved spout and to the other side with a tall strap handle, the dished cover surmounted with a ruyi-shaped finial, covered overall in a creamy-white glaze. Compared to other similar types of Northern Song Dynasty ceramics, this piece is extremely elegant in shape. It most closely resembles the Qingbai porcelain in the collection of The Museum of Oriental Ceramics in Osaka. Period : Northern Song dynasty(960~1127) Type : Creamy-white glaze Ewer Provenance : Acquired in 1999, Hongkong Reference : THE MET Accession Number: 18.57.1 Sotheby's London 2018 - St George Street Sale Asian Art - Lot 208 * Song Dynasty Ding-Yao Ware Song Dynasty Ding Yao porcelain holds a significant place in Chinese ceramic art, specifically as a type of white porcelain produced during the Song Dynasty. Produced predominantly during the mid to late Song Dynasty, Ding Yao ceramics are renowned for their delicate and intricate features. Ding Yao ceramics were primarily crafted from clay rich in white minerals and fired at high temperatures to achieve a durable and lustrous surface. One distinctive characteristic of this serene white ceramic is the presence of silver or gold-colored splashes of glaze, often created using a mineral called galena. Galena, with its lustrous appearance, was suitable for creating fine patterns and intricate decorations. These ceramics frequently feature delicate carvings, floral motifs, or subtle decorations. While commonly used for utilitarian purposes such as tableware, Ding Yao porcelain also served as a medium for artistic expression, producing many artworks. The production of Ding Yao ceramics was relatively limited, and surviving pieces are considered rare and valuable art pieces...

An important Pre-Columbian Inca/Chimu silver portrait vessel cup, Peru, 1400 CE. The indigenous people of Peru created these vessels for more than domestic purposes. Rather, they were used during life & after life at funerary ceremonies that incorporated intricate religious libations and imbibing rites. To create this piece, the ancient metalsmith hammered a piece of silver into a very thin sheet, approximately the size of the finished work. Then, the artisan used fine-grained stone anvils and hammer stones...

Prehistoric Brazilian thick agate geode on stand. White center with brown border. Metal stand measures 5" x 3.5". One of several from a large collecti...

This 100% complete trilobite fossil of the species drotops megalomanicus on its natural limestone matrix is estimated to date back 400 million years to the Devonian period. Out of Mo...

A blue-and-white porcelain dish with a central floral motif, likely a lotus, which is a recurrent symbol in Asian art representing purity and beauty. The lotus is surrounded by concentric patterns of foliage and vines, typical of the blue-and-white ceramics that were prevalent during the Ming Dynasty. The cobalt blue used for the intricate designs stands out against the white background, giving the piece a timeless elegance. The design's fluidity and organic shapes suggest it was painted by a skilled artisan, making it a fine example of the artistry from the period when it was created. Dates : 15th century Le Dynasty Region : North Annam Type : Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This piece has a flared neck and a globular body, typical of the forms seen in Cizhou ware. The body is decorated with freely drawn floral motifs and abstract patterns, which may inc...

Cypriot Plank Idol Early Bronze Age III - Middle Bronze Age I, c. 2100 - 1850 BC. Low fired burnished earthenware pottery with lime-filled incisions A Cypriot plank idol, an iconic form of human representation from Bronze Age Cyprus...

The globular body is supported on three claw feet and is covered in a splashed-glaze of amber, green and cream color, which stops short of the unglazed base. Date : Tang Dynasty(61...

Antique Lopburi Votive Tablet, 13th century Thailand. A  moulded terracotta leaf shaped tablet depicting on one side in relief a seated Buddha in meditat...

A beautiful set of 3 antique KHMER vases from South East Asia, from the Thailand-Cambodia area, good patina and shine of the glazed Brown terracotta, fine decorations and design of t...

Crafted from fine clay, the pillow's surface boasts a sophisticated carved design featuring a floral motif that is both symmetrical and organic. The interplay of the earthy tones and...

A richly weathered marble Roman style head with skilfully carved features and full lips. The piece would have been part of a larger statue or carving. The marble has a lovely warm pa...

A Chinese Longquan Celadon Lotus Bowl, Ming Dynasty Diameter: 16.7 cm Height: 5.5 cm Provenance: The Collection of Dr. John Yu AC Dr. Yu was the Foundi...

This product is a rare six-sided vermillion lacquer rinka (ring of flowers) tray. It was made in the late Yuan and early Ming dynasties. It has been ca...

Set of 3 Khmer Vases from the Cambodia-Thailand region in South East Asia, 11-13 th Century, the vases have a great patina and shine and are very decorative, fine decorations and sim...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

Large walnut wood sculpture in the round, depicting Saint John in the position he usually has at the foot of Christ on the Cross. Beautifully expressive face, framed by expertly curl...

Changsha Ware has distinct and recognizable designs and motifs. Painted designs often depict flowers, vines, clouds and mountain landscapes. Some painting is simply splotches of colo...

Original vintage World War Two home front poster - Keep Clothes On Hangers Creases shorten the life of your clothes hanging them up, brushed and pressed, saves coupons - featuring an...

François Pompon. Atelier Valsuani, edited by. Sculpture entitled “Petit Grand-Duc”. Bronze with brown patina, lost wax casting. Stamp of the Foundry “cire perdue C. Valsuani” on th...

Weight: 316.67 Gram Dimension: 8.2 x 10.9 x 4.7 Cm Origin: Skardu Valley, Pakistan Feldspar is the name given to a group of minerals distinguished by the presence of alumina and sil...

The modelled animal figures and landscapes of this piece represent the Daoist ideology of the Han dynasty. The mountain-shaped lid refers to the sacred dwellings of the immortals, th...

A Tang Dynasty stoneware box from the Belitung shipwreck, featuring embossed patterns on its lid. Stoneware boxes from the Tang Dynasty, like the one recovered from the Belitung ship...

A pair of antique Chinese pottery standing cow. Age: China, Tang Dynasty, A.D. 618 - 907 Size: Length 15.8 - 16 C.M. / Width 6.5 - 6.7 C.M. / Height 10.5 - 10.8 C.M. Condition: Well...

Prehistoric Chinese stone sculpture. Shape formed from years of underwater motion. Polished finish. One of a kind decorative item. Stand measures 5" x 5"

Decorated with floral and foliate reserves; lappets at base and leaves at neck. Dates : 15th century Le Dynasty Region : North Annam Type : Yuhuchun Vase Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : 1) Art Gallery of Greater Victoria - A vase from the wreck of the Hoi An 2) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This is a very old interesting Chinese porcelain small Bowl of the Longquan Celadon type, which we date to the Yuan Dynasty ( 1279 to 1368...

Antique Chinese painted pottery torso of court lady, with original pigments remaining. Age: China, Tang Dynasty, A.D. 618 - 907 Size of torso only: Height 12.5 C.M. / Width 4.7 C.M....

Material : marble 101 cm high The black wooden base is 60 cm wide and 40 cm deep The marble statue itself is 67 cm high Dhyana mudra 15th century (or earlier) Pictured is Parshvanath...

A magnificent pair of large one-of-a-kind medieval Italian armorial shield church architectural elements. Dating to around the late 15th century, hand-crafted in Italy, most impressive size, standing over 6-feet tall, bow front shaped shield form, polychrome painted Memento Mori - The Wars of the...

The edges have been dipped in four places with brown, probably iron-oxide. The well of the bowl is freely painted in green and coffee coloured brown. Period : Late Tang Dynasty Prod...

This ceramic piece beautifully captures the scene of a sparrow perched on a small branchs, depicted with a minimalist touch. The artist skillfully conveys the sense of intimacy as the sparrow approaches the slender twig. The simplicity of the design is evident in the clean lines and subtle details, allowing the viewer to focus on the essence of the moment. Dates : 15th century Le Dynasty Region : North Annam Type : Stoneware Pot Found/Acquired : Southeast Asia , South China Sea, Hoi An Hoard Reference : Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

The pillow is intricately decorated with a vibrant pattern, demonstrating the craftsmanship and artistic sensibilities of the period. The Haitai is a creature from Chinese mythology,...

SAINT FLORIAN   ORIGIN: SOUTH GERMANY, SWABIA PERIOD: END OF THE 15th CENTURY   Height : 100,5 cm Width : 34 cm Depth : 17 cm 
Polychromed lime wood Good state of conservation   
Sin...

Weight: 359.98 Gram Dimension: 13.6 x 7.1 x 7.3 Cm Origin: Skardu Valley, Pakistan Feldspar is the name given to a group of minerals distinguished by the presence of alumina and sil...

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

Finely potted with incurved facetted sides divided by raised ribs and set with two short lugs to the shoulder, the body rising to a short octagonal neck, the domed cover of conforming section, surrounded by an upturned rim and surmounted by a bud finial, applied overall with a celadon glaze of the period. A related vase of this rare and charming form, in the Zhenjiang Museum, Zhenjiang, is illustrated in the Complete Collection of Chinese Ceramics. Song, vol. 8, Shanghai, 1999, pl. 52. Vases of related octagonal shape were produced at the Ding kilns, in Hebei province, and the qingbai kilns in Jiangxi province; see a Ding vase in the Palace Museum, Beijing, illustrated in Selection of Ding Ware. The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2002, pl. 37; and a qingbai example, from the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3 (II), London, 2006, pl. 1590; and another carved with a floral scroll, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 105. Period : Western Jin Dynasty (266 - 316 AD) Type : Octagonal Vase Medium : Yue celadon...

This is a very old interesting Chinese Export stoneware Longquan Celadon bowl, which we date to the early Ming or later Yuan Dynasty, circa 14...

Antique Chinese painted pottery torso of court lady, with original pigments remaining. Age: China, Tang Dynasty, A.D. 618 - 907 Size of torso only: Height 12.4 C.M. / Width 4.4 C.M....

A 'Hu' is a type of large jar or pot that was commonly used in China for storage purposes, including holding liquids or dry goods like grains. This particular shape of pottery usually features a wide body and a narrow opening, and sometimes comes with a lid. The 'Hu' could also be more elongated with a slender neck, designed for easy pouring of liquids. The rainbow-like colors on this green-glazed surface come from changes that happen over hundreds of years while it's buried. This process is also known as "iridescence" and is often observed in ancient Chinese green pottery...

The upper section of the vessel is broad and flat, intended to support a candle or an oil lamp, while the stem and base are robust, designed for stability and durability. The surface...

Japanese statue of Datsue-ba also known as Shozuka no Baba, Kamakura- Muromachi period. Antique Japanese statue of Datsue-ba or Shozuka no B...

A beautiful petrified wood sink. This petrified wood sink has a mostly oval shape with a flatter back-side. The colors are primarily beige and cream, with warmer brown and rust tones. While the interior of the bowl has been polished, the surround has been left unpolished. Petrified wood is the result of a tree, or portion thereof, which has transitioned to stone over a period of time via a process referred to as permineralization. During this process, all of the trees organic...

Opening 36” W x 34 ½” H Overall 47” W x 41” H x 15"d Needs some restoration.

Khmer Ceramic Lime Pot. A globular stoneware jarlet in the form of a bird covered in a caramel color glaze stopping short of the elevated and slightly convex string cut foot display...

* Set item(Two statues) The statue on the left seems to be a mythical beast standing in a poised and alert stance, with its mouth open as if roaring or breathing fire. Its body is covered in detailed carvings that resemble scales and feathers, indicative of the high level of craftsmanship during the Jin Dynasty. The creature’s presence is both regal and intimidating, suggesting it might have been believed to possess protective properties. The statue on the right presents a more stoic and solid stance, with a broad chest and a upright head. Its facial expression is stern, with deep-carved eyes and an open mouth that reveals its teeth, adding to its majestic and formidable appearance. The mane and other body features are intricately detailed, suggesting a high level of artistic skill in its creation. Period : Western Jin Dynasty (266 - 316 AD) Type : Haitai Statue Medium : Yue celadon...

Magnificent Green Tourmaline Specimen From Afghanistan WEIGHT: 149.99 grams DIMENSIONS: 6.4 x 6.7 x 4.5 Cm ORIGIN: Afghanistan TREATMENT...

Antique marble statue from Jain temple from India, 14th century Material : marble 32,5 cm high 14,2 cm wide and 9,5 cm deep 14th century Origina...

This bronze sculpture, originating from Burma in the 15th century, is a rare and remarkable piece of art. Crafted in the distinctive Toungoo style, it stands at a height of 34.2 cm a...

Stoneware decorated with Persian-style colors and patterns, and it is highly likely that this Annamese pottery intended for export was produced to meet Middle Eastern demand. Dates : 15th century Le Dynasty Region : North Annam Type : Stoneware Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

This exquisite vase is a fine example of Ming Dynasty cloisonné, an era renowned for revolutionizing the cloisonné technique with intricate design and vibrant enamel work. The cylind...

This is a Song Dynasty ceramic ewer, exhibiting the characteristic simplicity and elegance of the period. The ewer's form is sturdy with a full-bodied base that tapers gently to a na...

Antique Silver Plate Tantalus A superb quality silver plated tantalus with three cut glass decanters in the classic English style. Cir...